Issues : Deletions in A
b. 235
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composition: Op. 23, Ballade in G minor
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The deletion visible in A next to the c-c1 octave most probably covers the initial version of this octave. According to us, it could have been d-d1. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 247
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composition: Op. 23, Ballade in G minor
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In A, one can see two more deleted notes between the c3 and b2 quavers; in addition, the not entirely removed stem of the former was left untouched. Consequently, it probably caused the mistake of FE, in which one can see traces of removal of a redundant note, most probably c3, placed between d3 and c3. It is uncertain what the aim of the corrections of A was. Below we present a hypothetical reconstruction of a respective fragment with the removed notes having been revealed: . The notation can be explained as follows:
category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Errors resulting from corrections , Deletions in A , Authentic corrections of FE |
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b. 248
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composition: Op. 23, Ballade in G minor
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In A one can see a deleted mark, more or less under the b1 semiquaver. category imprint: Corrections & alterations; Source & stylistic information issues: Corrections in A , Deletions in A |
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b. 251-255
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composition: Op. 23, Ballade in G minor
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We keep the notation of A (→FE), where the accidentals in b. 251 for the R.H. part are then not repeated before the same L.H. notes. An analogous situation is to be found in b. 255. In A one can even see that Chopin deleted all accidentals that had been written in those places – four in b. 251 and the to e in b. 255. GE and EE added the accidentals, hence the L.H. has as many accidentals as the right one. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: EE revisions , GE revisions , Deletions in A |
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b. 252-253
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composition: Op. 23, Ballade in G minor
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The deletions visible in A reveal that Chopin considered the dynamic markings over the R.H. part not suggestive enough and moved them lower, between the parts of both hands. None of the sources reproduced this notation accurately – in FE (→GE) the marks were placed too low, before the L.H. part, while GE overlooked . The revision of EE is noteworthy, i.e. the R.H. chords were moved to the top stave (which we do not include in our transcriptions), and each hand was provided with its own dynamic markings. category imprint: Differences between sources; Corrections & alterations; Source & stylistic information issues: EE revisions , Inaccuracies in FE , Errors in GE , Deletions in A |